999 resultados para Hewitt, Thomas Sinton (1887-1976)
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"Writings of the faculty of the University, 1825-1887. By William P. Trent": p. 218-225.
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Oliver Cromwell. A cast from the original mask taken after death ..." (plate facing p. [2])
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Includes indexes.
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"Der Hauptteil des ... Buches wurde ... als Dissertationsarbeit gedruckt und ist hier im wesentlichen unverändert wiedergegeben"--Vorwort.
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Bibliography: p. 149-150.
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back row: Gregory Natale, Ben Kawa, Mark Miller, Michael Coffman, Douglas Lindskog, Russell Blanzy, Larry LaCombe, John McCahill, Kris Manery, Daniel Cormier, William Thayer
middle row: assistant coach Doug Hinton, equipment manager Frank Young, William Wheeler, Clifford Maurer, Patrick Hughes, David Debol, Robert Palmer, John Waymann, Gary Morrison, Daniel Hoene, head coach Dan Farrell
front row: Richard Palmer, Don Fardig, Angelo Moretto, Robert Moore, Gregory Fox, Thomas Lindskog, Frank Zimmerman
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Top Row: Peggy Alford, Anne Allen, Barbara Amann, Joann Baker, Elizabeth Bando, Sara Barnes, Mary Barz, Anne Bauer, Patricia Baxter, Gwendolyn Beaudette, Nancy Bidigare, Marian Bier, Susan Blaszczyk, Jacqueline bolin, Anne Bostwick, Heather Brendel, Theresa Brisker, Rosalyn Cage, Jeanne Calhoun
Row 2: Karen Caputo, Carolyn Carpenter, Laura Lewellen, Catherine Pearson, Pamela Carr, Lisa Clark
Row 3: Sarah Cleland, Kathy Collar, Ann Connors, Marian Coppo, Martha Coppo, Debra Wirth, Kathleen Coughlin, Mayble Craig, Jennifer Crittenden, Linda Dean, Ann Dika
Row 4: Shira Doneson, Valerie Dray, Lee Duffey, Mary Dunn, Nancy Edwards, Mildred Jett, Patricia Johnson, Jan Walters, Karen Dimitroff, Debra Walton, Moira Stein, Madi Ehrenreich, Paula Elliott, Claudia Evans, Jolaync Farrell, Karen Fierke
Row 5: Debra Finch, Nadine Furlong, Susan Gamerman, Anita Gardocki, Marcia Gerpheide, Roberta Gies, Deborah Glotzhober, Marlene Golabeck, Janet Goldberg, Rene Green, Diana Greer, Susan Gross, Vivian Hall, Jill Hallead
Row 6: Sharon Hamlett, Tamara Hanson, Jane Harper, Jesusa Heilig, Steinunn Hermannsson, Susan Hicks, Karen Hillebrand, Jomatia Hoff, Michelle Howey, Holly Howieson, Sandra Hubar, Kathleen Hughes, Shirley Jvery, Laura Johnson, Susan Johnson, Shirley Jones, Judith Kellermier, Lynda Kitchen, Susan Kleinbeck
Row 7: Nanette Kotz, Kathleen Kroh, Judith Krohn, Catherine Lahti, Mary Lange, Patti Larson, Susan Leach, Rebecca Linn, Lacy Loomis, Francene Lundy, Sue Lymperis, Robyn Main, Patricia McCleary, Theresa McGowan, Elizabeth Messiter, Mary Miller, Nancy Moffatt, Catherine Munn, Karen Munson
Row 8: Virginia Newman, Laura Novak, Thomas O'Connell, Julie O'Connor, Kaathleen O'Hara, Kimberly O'Loughlin, Karen Olsen, Marcy Ouellette, Gail Park, Georgiana Parsell, Mary Patchak, Linda Pearsall, Kathleen Poage, Shelly Ponte, Thomas Parter, Marilyn Pratt, Karen Prince, Kathryn Procter, Rebecca Raymond
Row 9: Jill remter, Cheryl Ricca, Brenda Robinson, Karen Rollins, Lisa Root, Audrey Ross, Barbara Rutherford, Linda Rykwalder, Margaret Sampson, Sherril Santo, Jeanne Scheer, Kathy Schlichter, Nancy Schuman, Debra Sihtala, Michele Smit, Donna Smith, Bonnic Smrcka, Janine Speck, Elizabeth Stainsby
Row 10: Grace Steinaway, Jennifer Stinson, Sally Stone, Anne Sullivan, Barbara Tonak, Linda Towers, Cindy Tremblay, Gregory Trowbridge, Sandra Tucker, Debbie Ullrich, Lee Ann Van Houten, Pamela Waggener, Martha Walker, Michele Wenderski, Catherine West, Harriet Wilkinson, Diane Willis, Jan Winslow, Karen Wismer
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Back Row: coach John Orr, asst. coach Bill Frieder, Donald Johnston, Joel Thompson, Tom Bergen, Len Lillard, Phil Hubbard, Robert Jones, asst. coach Dan Fife, asst. coach Jim Boyce
Front Row: Charles Kostantacos, Alan Hardy, Dave Baxter, Lloyd Schinnerer, captain Wayman Britt, Thomas Staton, Rickey Green, Steve Grote, John Robinson, mngr. Mitchell Kaufman
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Added t.-p., engraved.
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"Ce modests travail ... n'aurait pas pu réussir sans la fidèle collaboration de notre savant ami, m.J.-J. Vetter, de Schaffhouse."--p.6.
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The cores described are taken during the R/V Thomas Washington ROUNDABOUT Cruise from May 1988 until March 1989 by the Scripps Institute of Oceanography. A total of 159 cores and dredges were recovered and are available at Scripps Institute of Oceanography for sampling and study.
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The cores described in this report were taken on the SOUTHTOW Expedition in June 1972 to January 1973 by the Scripps Institution of Oceanography from the R/V Thomas Washington. A total of 105 cores and dredges were recovered and are available at Scripps for sampling and study.
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The Mermaid Series (1887-1909) edited by Havelock Ellis was a major watershed in appreciation of Elizabethan and Jacobean drama. Before it appeared plays were available to general readers in scattered anthologies, large expensive collected editions or in expurgated selections which included only the more lyrical speeches and memorable scenes. Criticism of the drama followed suit; the majority of critics concentrated on the sections which appealed to the romantic and sentimental tastes of nineteenthcentury readers. The two men who conceived the Mermaid Series, John Addington Symonds and Havelock Ellis, approached the drama differently from their contemporaries; Symonds studied a play as a whole work of art and Ellis concentrated on its view of life. Both were unsatisfied with the "select beauties", fragmented approach and wanted readers to have the best plays in their entirety easily available in handy, inexpensive editions. Symonds's awareness of the drama as theatre was combined with a historical perspective allowing him to judge the drama in relation to its own time. He made a lasting but hitherto underestimated contribution to study of Beaumont and Fletcher, Dekker, Marlowe, and Ford. Ellis's work on the drama is overshadowed today by his studies of sex but his concentration on ideas and appreciation of unconventional behaviour enabled him to formulate new views on Ford, Middleton and Chapman. The two other major editors to work on the series, A. C. Swinburne and Arthur Symons had more conventional nineteenth-century approaches. Both were impressionistic critics who were most attracted to the l~nguage of the drama. Swinburne, however, occasionally transcended his fragmented approach and offered significant interpretations of Tourneur, Massinger; 'The .Changeling, Heywood. Symons's range was more limited but his form of impressionism was valuable for its concentration on the aesthetic experience at the heart of a work of art. His most important contributions were the study of Middleton and Massinger. Besides these four major critics numerous lesser writers worked on the series. Their editorial work was valuable and some, notably Ernest Rhys, c. H. Herford and Thomas Dickinson offered criticism of enduring importance. In my first chapter I consider the general availability of texts of the Elizabethan and Jacobean drama in the nineteenth century, the general attitudes towards the drama, and the critical approaches of each of the editors. The subsequent chapters are organized around the volumes of the series. I consider the climate of opinion in which each appeared, assess its critical and editorial contribution and evaluate the work of the other Mermaid editors on the dramatist included in the volume. My study shows that the concept of the Mermaid Series and the work of its editors helped to revolutionize study of the Elizabethan and Jacobean dramatists by providing good texts and by pointing the way to our present view of the plays as whole works of art.